The Palace was once a grandiose hotel built by the Mufti of Jerusalem in 1929. Long abandoned, the building has recently been bought by Waldorf Astoria and entirely gutted so as to preserve only its historical façade. "Palace, 2013" is a collaboration with the workers on the construction site of Waldorf Astoria Jerusalem and presents a series of three atmospheric tableaux inspired by the formal qualities of the site and its history. By means of simple props and actions, the order of the site and its daily labour routine are temporarily disrupted, allowing for a multiplicity of resonances to occur.
Adler de Oliveira thus acts as an observer of the broad range of possibilities embedded within the site: its current reality as a dismantled building on the one hand; and its latent future on the other. The hotel in its present form - a site in the making - presents an anomalous reality, since it functions as a temporary home for its construction workers. The site imbues the power relationships characteristic of Israeli society, contrasted against its designed purpose: to offer its visitors an escape from local reality; a total disconnection from time and place.

Samantha Adler de Oliveira was born in Paris in 1985 and grew up in Brussels. In 2003 she completed a BA in European Studies at King`s College London. She then went on to earn a Fine Art degree from the Bezalel Academy of Arts and Design, Jerusalem, during which time she spent a semester at the School of Visual Arts in New York. In 2011 she participated in the European Exchange Academy and is a recent graduate of the Skowhegan School of Painting and Sculpture, Maine. She received a special mention at the Mediatine Award for emerging artists in Belgium (2011) and the Aileen Cooper Prize for outstanding graduate show (2012). Her work has been shown in Israel, Belgium, Germany and New York. She had her first one-person exhibition in 2013 at the Architect House in Tel-Aviv Yaffo.

In a car workshop type space, between the pristine surfaces of car parts, archetypes of mass production, a construction of power is unfolding between a Dobermann Pinscher and its owner. A Dobermann is a special breed, it’s gracious, loyal, and potentially aggressive to strangers. It needs severe training. Both the owner’s and the dog’s consciousness are formed within this relationship. By the obedient appearance of the dog, it seems to concede to the rules it’s been given. But by knowing the rules it starts to gain power itself. The impression the video gives moves between floating through an abattoir where fresh slaughtered livestock is vertically stored and moved around in this almost perfectly hidden horror of death, and a peek into a shop window, where commodities are on display, waiting for a buyer in their best possible appearance. Starting from Wilfrid Sellars theory on the self: If the abattoir represents our scientific self; our matter, our genetic material, our flesh and bones without moral or ethics. In the image of the shop window our manifest self is reflected, a self constructed in a social context, a world of abstractions, of language and reasoning.

Jan Adriaans graduated from the Dutch Art Institute in 2015. His video-works explore human selfhood in its evolutionary context. By drawing a parallel with the animal, the set of constraints we are subjected to become more apparent. If we take these constraints into account, how can we redefine human agency, will, and control? “Selfhood is tyrannical precisely insofar as it is merely a congerie of drives. The act supplants the tyranny of the impulsive self with the rule of the subject. But it is the act itself that is subject. It is no-one’s.” Ray Brassier

Engravings in the genre of "World Upside Down", known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor.
The title of the work, Inverso – both an Italian "reverse, the opposite" and the Old Italian "poetry," and Mundus – the Latin "world," hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June–September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). In 2015 AES+F presented the new project Inverso Mundus at 56th Biennale di Venezia. AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) – all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts.
AES Group was originally formed in 1987 by the conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media — sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere.
For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice — those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Lille, Lyon, Melbourne, St Moritz, Sydney, Taipei, Tirana and Toronto. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial.
By now the subject of almost 100 solo exhibitions at museums, exhibition spaces and commercial galleries worldwide, works by AES+F have been shown in such prestigious venues as the Neuer Berliner Kunstverein, ZKM (Karlsruhe), Casino Luxembourg, Kiasma (Helsinki), the Moderna Museet (Stockholm), Tate Britain (London), Institute of International Visual Arts (Iniva, various UK venues), the Passage De Retz (Paris), the Vanhaerents Art Collection (Brussels), MACRO Future (Rome), the Museo Thyssen-Bornemisza (Madrid), the State Russian Museum (St Petersburg), the Museum of Fine Arts (La Chaux-de-Fonds) and many others. Among the important European institutions collecting their works are the Moderna Museet (Stockholm), the Sammlung Goetz (Munich), the Neue Galerie Graz, the Maison Européenne de la Photographie (Paris) and the Centre Georges Pompidou (Paris). Works by AES+F are also presented in Australian public collections at AGSA / Art Gallery of South Australia (Adelaide) and MONA (Tasmania). Their works are also found in the foremost collections of Russia, including the Multimedia Art Museum Moscow, the Moscow Museum of Modern Art, the State Tretyakov Gallery (Moscow) and the State Russian Museum (St Petersburg).

Sandro Aguilar (1974, Portugal) studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His first fiction feature film was Uprise (2008). Aguilar's short films have won awards at festivals such as La Biennale di Venezia, Locarno and Vila do Conde. Mercury (2010) is in competition for the Tiger Awards for Short Films at the IFFR 2011.

A young girl spending time with her parents (a swinger couple) in a camping site meets an emotionally unstable recruit and becomes fascinated by his special powers. He falls in love with her, but he soon finds out his love is unrequited.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria.
His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others.
Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria.
His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others.
Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

All sympathetic magic is based upon two principles: the first called the Law of Similarity says that likes produce likes, or that an effect resembles its cause; the second, called the law of contagion or contact says that all things having been in contact with each other continue to react upon one and another at a distance even after they have been severed or disconnected. A fearful man meets a disquiet
woman. Do you believe in magic?

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a FÃºria, which has been since then one of the most
prominent Portuguese production structures, recognized by the long list of films, produced within its tutelage, that are selected and awarded at the most prestigious internacional film festivals. The short films
directed by Sandro Aguilar have won awards at festivals, such as La Biennale di Venezia, Locarno, Vila do Conde, and have been shown in Rotterdam, Belfort, Montreal, Clermont-Ferrand among others. He
has also directed a feature film in 2008, entitled A ZONA.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria.
His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others.
Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

For the sake of freedom she leaves the door to her memory open. So Omer enters her room every day healing her broken heart through his word and spirit.

My Name is Abdalla Mohamed Gaffar Ahmed, a young and aspiring Sudanese film director who shot and directed my first short feature entitled ?Beyond Memory? ON 11-2012, And second short documentary film about " US Technology Sanctions on Sudan" ON 1-2014 .
Born in the United Arab Emirates Since 1990, I moved back to Sudan in 2002, when my family resettled back to my native land. I am currently enrolled in a local undergraduate study program undertaking a media degree in ALMASHREQ Universty of Science and Technology.
I consider my recent found interest and work in film making to be the crowning of my collective long running interests in photography and creative writing.
Throughout my childhood and early youth, living in diverse spaces, has helped increase and develop my sensitivities towards international cultures all which seem to feature in the pattern of my arts.
As a young artist I hope to retain my experimental and dependent artistic nature, being the sole mode of which I can express myself and the dynamic and vibrant context around me.
Abdalla Ahmed
00249910112202
a.nirmen@hotmail.com

A single channel video piece, looped. The piece is about 13 minutes long, with 1 minute of black over silence at the end. It features two characters, no dialogue, and depending on how one looks at it, either no narrative or a countless number of narratives. The soundscape is equally as important as the visuals. It is immersive, taken from everyday life, containing the bellows of trains to automobile traffic to background music at a shopping mall. Newhall is the district in Southern California in which the piece was conceived and shot.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

Curriculum is a tiny scale documentary set in Los Angelescentered around the larger theme of knowledge. It loosely follows a character, a tutor for the No Child Left Behind Act implemented by the Los Angeles Unified School District. Running through a few simple ideological questions rather than investigatingcharacters, facts, or events (as one would expect of a documentary), the film was made to open up the matter of education in Los Angeles in relation to socio-economic as well as subjective positions.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

EIJA-LIISA AHTILA
Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films
and multi-screen installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary human experiences.
Her works deal with separation, loss, sexuality, relationships among family members, mental disintegration, and death. They investigate the processes of perception and the attribution of meaning, with breaking down the story on several screens around the viewer in the space.
Making installations and films has become for her a process of identifying the links between images, sounds, rhythms, light, characters and words, and using them to approach and construct the story.
Eija-Liisa Ahtila was the recipient of the Artes Mundi of Cardiff, Wales in 2006, the Vincent
Van Gogh Biannual Award for Contemporary Art in Europe, Maastricht, The Netherlands, as well as the Coutts Contemporary Art Foundation Award, Switzerland, both in 2000, and the
Edstrand Art Prize, Sweden in 1998.
Ahtila attended Helsinki University, Faculty of Law (1980-85); Independent Art School, 198184; and London College of Printing, School of Media and Management, Film and Video
(1990-91). She received a Certificate from U.C.L.A. in Film, TV, Theater and Multimedia
Studies, Los Angeles (1994-95) and attended special courses at the America Film Institute, Advanced Technology Program, Los Angeles (1994-95).
Ahtila has exhibited extensively at numerous museums and film festivals around the world and her films have received distinctive film awards and prizes over the years. Her work has also been widely seen on television in Europe. British Film Institute has published a home
DVD box of her films titled The Cinematic Works of Eija-Liisa Ahti/a.
Eija-Liisa Ahtila currently lives and works in Helsinki.

The Annunciation is a film in which one of the central motifs of Christian iconography is constructed and re-enacted through moving image.

Eija-Liisa Ahtila
Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films and multi-screen
installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary
human experiences.

Captain Gervasio`s Family is a 16mm black and white silent portrait of a Spiritist community in Palmelo, a small town in the interior of Brazil. It?s a town of 2000 inhabitants, half of whom are psychic mediums. The film refers to a map drawn by a Spiritist woman in Palmelo, charting twenty astral cities hovering above the whole of the Brazilian territory. Cities ?like those on earth, but infinitely more perfect?. The Spiritists in Palmelo practice what is known as `the magnetic chain?, a legacy from the German physician Franz Mesmer, the founder of Spiritism Allan Kardec, and the French botanist François Deleuze. The film is a collaboration between the artists Tamar Guimaraes (BR) and Kasper Akhøj (DK).

Kasper Akhøj was born in Copenhagen, Denmark where he lives and works. He studied at the Czech National Film School (FAMU), Städelschule - Staatliche Hochschule für Bildende Künste, Frankfurt, and the Royal Danish Academy of Fine Arts, Copenhagen. He is also a former participant of the Whitney Museum Independent Study Program in New York. He is represented by Ellen de Bruijne Projects in Amsterdam and has exhibited widely at major museums and biennials, both solo and in collaboration with Brazilian artist Tamar Guimaraes, most recently at last years 55th Venice Biennale, The Encyclopedic Palace.
Tamar Guimarães was born in Belo Horizonte, Brazil and lives and works in Copenhagen, Denmark.
She holds a BFA from Goldsmiths College, University of London, and MFA from Malmö Art Academy, Sweden. She is also a former participant of the Whitney Museum Independent Study Program in New York. She is represented by Galeria Fortes Vilaça in Sao Paolo, and has exhibited widely at major museums and biennials, both solo and in collaboration with Danish artist Kasper Akhøj, most recently at last years 55th Venice Biennale, The Encyclopedic Palace.

They go to a day trip to an island next to Istanbul. They find themselves captivated by the never ending cityscape and sink into a contemplation on urban decay. Living in a concrete jungle is their future.

Born in Istanbul in 1987, Eren Aksu is a Berlin based filmmaker. He holds a Bachelor of Arts degree in Film& Television and currently studies Arts& Media at Berlin University of the Arts.
His short films include Aydınlık (2013), Cosmorama (2015), İki Yer (2017).

After the first Gulf War in 1991, countless oil fields in Kuwait were set ablaze during the retreat of invading forces. Those months following the war were nothing short of the classic image of a biblical apocalypse: the earth belching fire and the black scorched sky felt like a portrait of hell as it should be, an almost romanticized vision of the end of the world.
Werner Herzog, lured by the surrealism of this present-day hell, shot his docu-fiction film “Lessons of Darkness” there which placed images of the oil fires alongside Christian biblical texts and a Wagner soundtrack. Inspired by his endeavor, this video re-explores the cataclysmic event and attempts to expand its meaning, especially as the idea of imminent doom is even more omnipresent today.
Amateur VHS video footage of the oil fires is juxtaposed with audio monologues from Islamic television programs of the same period. At the time, the tools used to represent religion were geared towards visualizing god through nature. Trees, waterfalls, mountains, and animals were the visual staple of religious media, and the narration was not that of the Koran, but of Arabic poetry recited by a skilled orator with a deep voice.

Monira Al Qadiri is a Kuwaiti visual artist and film maker born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East region stemming from poetry, music, art and religious practices. Her work explores the relationship between narcissism and masculinity, as well as other dysfunctional gender roles. She is currently expanding her practice towards social and political subjects. Al Qadiri has taken part in exhibitions and film screenings in Tokyo, Kuwait, Beirut, Dubai, Berlin, New York and Moscow among others. She is also part of the artist collective GCC, who has recently held a solo exhibition at MoMA PS1 in 2014.

"GRAVITATION" deals with the idea of European identity and the desire to export it, desire which is deep inside of this identity. A long tradition. It is a tale of mistaken identity and murder, human weakness and individual deficiencies. It is a fatalistic tale of one man?s vain struggle to escape his own limitations, unfortunately an impossibility in the world of noir.
The film Gravitation gives me the opportunity to investigate the structuralist film concept, the so-called ?Film Low?. The different actions which in the real life stay under the Nature Low, will have to be in the film under the ?Film Low? : montage, light, perspective, acting, actors and camera choreography and more others film components .
Using very reduced but very eloquent / representative objects for the film set will create pictures which have to suggest the acting place. This objects must have a strong relation to the `film place` (typical for the place) so that the viewer, by his visual perception, can be able to trust the authenticity of the picture as a film construction - instead as an illustration. The question for me, is how far I can reduce this elements and on which things, on which elements I have to reduce the decoration of the film `stage` to get the visual suggestion instead of the illustration. That it is one of my research point.
The Film will use apparently prosaic structures (narration) but during the editing and the alienation process it has to be percepted as a poetic work. Poetry deals with tempo, with rhythm. In the film, economic tempo and rhythm are matters who belong and are decided more in the editing room. The alienation process is one of the main points in my Film. The Film process have to be transparent, so that film structures and effect modalities will recognize it. I believe that this transparency offers the opportunity to reflect about new modalities of telling a story using the Film. To me, this alienation process helps us to make our `automated` perception - by language and social conventions, more difficult and thereby to get a new vision of the things which can correct our relationship to the environment. Then new forms appear, and this forms and their determinant process become the actual object of artistic perception, in the end the the art subject.
Using a linear visual guided treatment will permit to give up a psychological motivation, and to make the non-artistic interpretations harder.
The Sound will have a strict autonomous function in Film, and will try so much possible to not be used as a naturalistic synchronic language.